Miguel A. De La Torre rejects hope as the ethical basis for a politically effective and truly liberative form of solidarity. Kelly Brown Douglas, on the other hand, articulates a critical retrieval of hope emphasizing the interpretive relationship between the cross, the lynching tree, and the resurrection. Reading De La Torre and Douglas’s works through Natalie Carnes’s theological aesthetics suggests that their respective works can be engaged as “iconoclasms of fidelity,” or the salutary breaking of idolatrous images toward recovering faithful ones. Examining #SprayTheirNames murals that were created in response to state violence against Black people in the United States, I argue that Carnes’s aesthetics framework holds the violence of the crucifixion and promise of resurrection in visual tension, thus decrying violent oppression while offering a beautiful and dangerous memory that catalyzes hope-filled movement in defense of Black lives.